July 11, 2024

To the Giller Foundation: Cut Ties with Genocide

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"We, the undersigned, have made the decision to withdraw our books from consideration for the 2024 Scotiabank Giller Prize, and to refuse participation in all programming or promotions associated with the Giller Foundation."

Read the full letter here.

Instagram post here.

You can also read about it in The Globe and Mail, CBC, Toronto Star, Quill and Quire, and LitHub.

For a longer read: How the Giller Prize Became Associated with Genocide

Grateful to be a part of this. And to all the other authors taking a stand.

In one week, 27 authors with books eligible for this year's Giller Prize have pulled their titles from consideration. 2 of the 5 jurors (Dinaw Mengestu and Megha Majumdar) have also pulled out.

If you have a book out within the Giller Prize eligibility period (Oct 1 2023 - Sept 30 2024), then you should seriously consider signing this letter as well.

# No Business As Usual In Can Lit





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July 8, 2024

The table of contents from The Poetics of Translation: A Thinking Structure

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The table of contents from:

The Poetics of Translation: A Thinking Structure
by Geneviève Robichaud

(Perhaps the first chapter on PME-ART written by someone other than me.)





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July 3, 2024

Excerpt from Things That Insist (in three parts)

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“What first attracted me to making performances was the fact that it was so ephemeral. You had to be in the moment and, if it was going to happen, it had to happen right fucking now. Yet now I’m basically over that aspect of it.

Artistically I lead a double life: half my life spent writing books, the other half spent performing. And more and more I prefer the books side of my life for the simple reason that books last.

Every once in a while, someone writes to me, saying they just read a book I wrote a very long time ago, and I experience these messages almost like a relief: that there is an object out there in the world, with my name on it, doing the work for me. Doing the work in my place.

Yet something similar does sometimes happen with performance. For example, I’ll add someone on social media and they’ll send me a message saying they saw me perform ten years ago, and they still fondly remember the experience.

Why do I find this version of past works entering into the present somehow less satisfying? The performance version less satisfying than the one involving books. Is it only because it occurs less frequently?

In 2018, I attempted to partly solve this dilemma by writing a book that recounted twenty years of my performance work. And, in doing so, I made a kind of small discovery: that the descriptions of the performances recounted in the book almost replaced people’s memories of the performances themselves.

The printed version was sharper, clearer and more recent when compared to the vagueness of memory. And yet, of course, there was another way in which memories were more intense, evocative and personal.

Performance is ephemeral, but the performances we remember also exist because we remember them. The very fact we remember them is a testament to their value.

I have never gone to an archive, any sort of archive, to look up a performance I’ve previously seen. I have only ever looked up performances I didn’t see.

In this way, I might intuit that I value the live experience more than I value any recorded account of it. I don’t want to spoil my fading memory of the performance by consulting an archived account of it.

But enough about me.”



From my response to the dance+words’ Dance Dialogues series. Read the entire piece here: https://www.dancepluswords.ca/artistresponses/jacob-wren



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May 29, 2024

Survival Technologies opens May 30th!!!



Survival Technologies
At Festival TransAmériques.
More information here: https://fta.ca/en/event/survival-technologies/

Produced by PME-ART

Creator, Director, Sound Design, Performer: Elena Stoodley
Co-Ideator: Kamissa Ma Koïta

Visual Design: Kamissa Ma Koïta, Elena Stoodley, Bay Dam, Vladimir Cara
Set and Lighting Design: Paul Chambers
Assistant Set and Lights: Jordana Natale
Interactive Art Design: Bay Dam
Performer, Cultural Consultant: Jean Durandisse
Performer, Dance Consultant and Costume Designer: Michèle Jean-Jacques
Performer and Dance Consultant: Sophia Gaspard
Percussionist and Cultural Consultant: Karl-Henry Brézault
Artistic Consultants: Dana Michel + Karla Étienne
Artistic Facilitator, Dramaturgy Assistant: Jacob Wren
Artistic Contribution: Sonia Hughes
Producer: Sylvie Lachance
Technical Director: Vladimir Cara
Assistant Stage Manager: Nicoleta Stoodley
Production Manager: Becks Lefranc

Co-produced by Festival TransAmériques + Forum Freies Theater (Düsseldorf) + Festspillene i Nord-Norge (Harstad)
Developed with the support of National Arts Centre’s National Creation Fund (Ottawa)
Presented in association with Agora de la danse + Tangente

Premiered at Festival TransAmériques, on May 30, 2024

Read a review here: https://ruinaacesa.com.br/survival-technologies/




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May 22, 2024

From 2015: My Apologies

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I wrote this in 2015:

"Guilt is conservative. We are all implicated in more ways than we will ever know but shouldn’t feel guilty. We should be angry, must become open to an anger that experiences possibilities everywhere, that opens towards genuinely other ways of seeing our predicament and where it might first or most crack."



From this novel I started but couldn't finish: My Apologies



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May 10, 2024

Lilly Dancyger Quote

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"I always tell my writing students not to try to wrap things up in a neat little bow when they’re actually complicated and unresolved. That the lack of closure can be a better ending than manufactured closure that’s not genuine. The parts of the story that don’t seem to fit together can often be where the real story is. I encourage them to look for those spots of friction and write into the complexity. That’s where the good stuff is."
- Lilly Dancyger



From this interview: https://lareviewofbooks.org/article/finding-the-story-a-conversation-with-lilly-dancyger/



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May 7, 2024

protest music

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The fact that it's Macklemore who's bringing the protest music wasn't on my bingo card: HIND’S HALL.



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April 24, 2024

many false starts

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Between writing novels, I attempt to start writing new novels, many false starts. Why does one of the starts eventually take while the others don't? Not a reason but a feeling. Mostly a feeling that I don't know where it's going but I want to find out.



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April 16, 2024

Miguel Gutierrez Quote

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“Living longer means you witness the daily onslaught of stupid and mean that passes for reality.

Living longer means you witness the toggle between progression and backlash, over and over like a tennis game from hell.

Living longer means you meet young people who are better or worse versions of who you once were.

Living longer means you draw the logic of your perspective into a latticework of meaning that purportedly helps you see patterns, something you might call “maturity.” But more often than not it feels like you’re just decorating a cage of your own design, rendering yourself unsupple and resistant to change.

Living longer means coming to terms with whether or not this is true, every day.”

- Miguel Gutierrez, Aging Awfully



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April 4, 2024

Two Robert Wyatt Quotes

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Ryan Dombal: “…your career is a good example of how being an underdog isn’t necessarily something to overcome.”

Robert Wyatt: “Well, that’s about the nicest thing anybody’s said to me in years. I hope that’s the truth. It’s not even a moral question. It’s a question of pride. You have to be able to look at yourself in the mirror, and I don’t know how some people do that. God knows I’ve been so wicked and selfish in the past, but nevertheless, I do really think the things I think and support the people I support. I would encourage people to realize that you don’t have to panic if you’re not part of a mainstream or if you find yourself outside the flow. If it doesn’t suit you, don’t go along with it. Just sit it out and get your stuff done. Don’t just sit moaning or getting drunk—I spent some years doing that. But if you can just come up with something of your own, however minor it is, that’s going to be easier to live with when you’re at the end of your life.”

From this piece: https://pitchfork.com/features/interview/9544-robert-wyatt/


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“I kind of had nervous breakdown in ‘95. I felt burnt out before my time and just collapsed. I just didn’t want to be me anymore. I was tired of it, though not suicidal. A lot of the stuff we’re talking about is me attempting to find an identity outside of the given one, whether it’s listening to Spanish music or Russian communist music or black music. They’re all ways of getting out of the prison of self, really. But at that point, I couldn’t get out. I just felt trapped. Maybe that was a decade-late delay about the accident – at last, the difficulty I was in kicked in. Alfie and I spent most of our time in a sort of fancy wooden cabin on the coast at this point, half an hour away from where we lived in Lincolnshire, and there was no electricity. We didn’t even have records. We listened to stories you could get on cassette.

I got some treatment. I actually went to the doctor and went to anxiety management classes. Alfie said, “I can’t handle this at all,” because I’d gone mad. She’d dealt with everything up to that point, but not that. I came out of that and started working on a record, which became Shleep, and that’s really what took me out of it.

I’d been making records on my own, and somebody said, “Why don’t you get some other people in? You don’t have to marry them. They can just spend a couple of days at your house and do a song with you.” And I thought, "Why not?" From that point on, my records got more crowded. [laughs] It’s helped me. I made two or three records totally solo, and I was going mad in this musical isolation. I just felt so cut off from the world.”

– Robert Wyatt

From this piece: https://pitchfork.com/features/5-10-15-20/8776-robert-wyatt/



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April 3, 2024

L’idealismo infranto di Jacob Wren di Manuela Pacella

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Thank you to Manuela Pacella for an in depth and charming account of my work, first published in the Italian version of Flash Art, and now part of the book Tell me stories!

Here is their summary, in Italian, of Polyamorous Love Song:

Il cinema e il film sono molto presenti in questo libro. Un personaggio chiave è Filmmaker A. Nel 2002 viene invitata al New York Film Festival, la stessa edizione alla quale Abbas Kiarostami non poté prendere parte perché gli fu negato di entrare negli Stati Uniti. Questo evento la sconvolge e si ritrova a vagare per le strade della città ragionando su come poter realizzare film più veri e riflettendo su Close-Up (1990) di Kiarostami. Ha un’idea che diviene esplosiva e la rende famosa, creando seguaci in tutto il mondo: non si girano più i film; si fa in modo che la propria stessa vita diventi una sceneggiatura e, semplicemente, si agisce, riprendendo la vita ma senza il filtro della telecamera. Ad estrema applicazione del mentore Filmmaker A c’è un gruppo, The Centre for Productive Compromise, che di base usa il sesso libero come sceneggiatura. Per evitare estreme scene di gelosia si sono inventati una droga, insieme a quella che ha il potere di far ricordare i numeri di telefono ma, come effetto collaterale, anche quello delle persone con le quali si sta avendo un rapporto sessuale. C’è anche il Mascot Front, un gruppo di attivisti politici estremi che indossano pelose maschere da mascotte e c’è un artista visivo che un giorno le vede dalla sua finestra correre, armate, inseguite da uomini in divisa: prima un orso, poi un coniglio, poi un cono gelato, una tartaruga e un canguro. Durante questa visione surreale un colpo di pistola lo ferisce per sbaglio. Da quel momento diventa un’ossessione e ovviamente vuole farci un’opera d’arte ma finisce rapito dalle mascotte e da queste legato a un termosifone in una loro sede. Poi c’è l’amico dell’artista, l’artista vero, con molto potenziale che se ne esce con frasi illuminanti tipo: “Tu, i tuoi amici, l’intera cultura mondiale degli artisti e dei bohémien, è come se aveste una strana sorta di malattia. Tutto ciò che volete è che la gente vi guardi, che guardi ciò che fate e pensi che siete speciali e talentuosi. Lo desiderate così tanto da pensare che ci sia qualcosa di sbagliato in quelli di noi che non lo fanno (…) Credimi, non ho bisogno di lettere di ammiratori che mi dicano che i miei pensieri hanno valore. Sono sicuro di me… La mia vita ha il suo percorso… I miei pensieri sono la giusta e unica ricompensa” 14. Ma poi si e ci tradisce: diventa scrittore. E la sua compagna anche è scrittrice e sta scrivendo A Dream for the Future and a Dream for Now, titolo che si scopre poi essere lo stesso di altri libri scritti da diversi autori. Ma mentre quest’ultimi sembrano avere a che fare con un nuovo tipo di religione politica, il principale riguarda una società segreta scomparsa subito dopo la Grande Guerra e riapparsa nei tardi anni Quaranta a New York (ho un flash con Che la festa cominci di Gabriele Ammaniti del 2009). Lo scopo è di organizzare orge a larga scala per assassinare imprenditori e politici di Destra attraverso un’infezione virale a trasmissione sessuale che non infetta, invece, tutti gli altri. Nel capitolo apparentemente meno confuso di tutto il libro, Wren nei panni di Wren si sta facendo tagliare i capelli da un barbiere a Berlino e si immagina un altro barbiere, emigrato a causa delle leggi razziali dalla Germania a New York… Beh, è lui l’inventore del virus, come credo l’inventore della nuova religione politica. STOP. Lo so, è tanto. Ma aggiungo che tutto quello che ho scritto non è affatto in una sequenza che rispetta quella del testo di Wren nel quale, poi, ci sono talmente tanti io narranti da far venire il mal di testa.

Ma è onestamente un capolavoro e la cosa incredibile è che nasce dalla mente e dalle mani di un autore che si autodefinisce cinico ma, in fondo, non è il cinismo “sempre e solo una sorta di idealismo infranto?”15. 
 Appunto, Wren. Non bisogna combattere contro i mulini a vento ma semplicemente, quotidianamente, desiderare qualcosa di diverso. Il desiderio. “Ma non il desiderio che è solo l’altra faccia dell’insicurezza: il desiderio come disperazione. Un vero desiderio, il desiderio di vivere e di essere vivi, di trovare un valore o un significato o una convinzione che possa riempire in modo convincente e dare un senso al nostro breve tempo su questo pianeta dimenticato da Dio”



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March 14, 2024

New Jacob Wren chapbook: From Desire Without Expectation

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From Desire Without Expectation
Jacob Wren
$5

"Writing comes easily to me, while I find most other things in life exceedingly difficult. This is often a problem with writers. The truth of what they write is deeply shaded by a writerly distance from life which is also often connected to various forms of loneliness. Writers are often not the best people when it comes to understanding either community or solidarity. Maybe I should only speak for myself. Certain kinds of religious conversions bring one directly into community with others who are similarly converted. As you might have already guessed, I lean rather heavily into not wanting to be part of any club that might have me as a member. Religion has always been one of the places people look to for community. As has often been noted, in our current world, community can be rather hard to come by and even harder to maintain. One of the many reasons religion hasn’t disappeared, as was not so long ago predicted, is it allows its adherents to mainline a sense of community. This is the reason I find easiest to understand."

published in Ottawa by above/ground press
March 2024
as the twenty-fourth title in above/ground’s prose/naut imprint
a/g subscribers receive a complimentary copy

This is Jacob Wren’s second chapbook with above/ground press, following Tributes To The Subtlety Of Matter (1996).

To order, send cheques (add $1 for postage; in US, add $2; outside North America, add $5) to: rob mclennan, 2423 Alta Vista Drive, Ottawa ON K1H 7M9. E-transfer or PayPal at rob_mclennan (at) hotmail.com or the PayPal button at www.robmclennan.blogspot.com

https://abovegroundpress.blogspot.com/2024/03/new-from-aboveground-press-press-from.html




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February 26, 2024

Final Words

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“My name is Aaron Bushnell, I am an active duty member of the US airforce, and I will no longer be complicit in genocide. I’m about to engage in an extreme act of protest, but compared to what people have been experiencing in Palestine at the hands of their colonizers it’s not extreme at all. This is what our ruling class has decided will be normal. Free Palestine!”



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February 21, 2024

Sometimes it seems to me that the process of rehearsal is simply a process of emotional armouring...


 


A quote from my book Authenticity is a Feeling: My Life in PME-ART. As posted by Lucy Bellwood on Tumblr:

https://lucybellwood.tumblr.com/post/728466340736827392

“Sometimes it seems to me that the process of rehearsal is simply a process of emotional armouring: we will make everything absolutely perfect so no one will ever see who or what we really are.”



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February 2, 2024

Ten years ago I thought this was never meant to happen....

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I've been thinking a lot about how Polyamorous Love Song came out ten years ago. How it was a moment that, in some ways, really changed my life. The first time it had occurred to me my books could have any sort of readership. I had always assumed I would be a writer without a readership. I had always been told my books were too experimental for very many people to ever read them. And here was one of my most experimental books, being read by far more people than had read anything I'd previously written. I partly assumed the success of Polyamorous Love Song had something to do with the last minute title change, that the title itself drew people to the book. But, much later, a friend said the quality she most liked about it was its “surrealist polyvocality,” and this quality was one of the main reasons for its success. (When I was young I think I wanted to be some sort of “cult writer.” But now that I am in fact some sort of cult writer, I have the strange feeling that people don't even really know what that is anymore.) Ten years is both a long time and not such a long time. Sometimes I have the feeling I will never write anything people like as much again. But, I suppose, every time one puts out a new book there's a chance something unexpected might, once again, occur.

You can read an excerpt here.
You can find out about the original title here.

Plus some reviews of Polyamorous Love Song:
Shannon Tien at Cult Mtl
Liz Worth at Quill and Quire
Jade Colbert at The Globe and Mail
Featured book in Maisonneuve
Lesley Trites for the Montreal Review of Books Blog
Letters we wrote to friends after reading Polyamorous Love Song

February 1, 2024

Percival Everett Quote

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In my writing my instinct was to defy form, but I very much sought in defying it to affirm it, an irony that was difficult enough to articulate, much less defend.” 
– Percival Everett, Erasure



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[Fascinated by the idea that they’ve made an Oscar-nominated film from Percival Everett's Erasure. As is often (but not always) the case, the book is considerably better. But I was intrigued by just how Hollywood they managed to make it while at the same time maintaining something of its original essence. Between American Fiction and Poor Things, I find myself wondering if turning experimental novels into Hollywood films has become something of a momentary trend.]


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January 9, 2024

The Air Contains Honey / with a reading by Assiyah Jamilla Touré

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The Air Contains Honey
With a reading by Assiyah Jamilla Touré
Fundraiser for Brique Par Brique
Co-presented by Arts in the Margins

La Sala Rossa
Wednesday January 31st, 2024
7:30pm doors / 8pm show
$16 + tax in advance / $20 at the door
NOTAFLOF

(The Air Contains Honey only performs once a year. Don't miss your chance!)



(The Air Contains Honey’s lineup is ever shifting. But on January 31st we believe it will be: Pietro Amato. Maude Arès, Patrick Conan, Michael Feuerstack, James Goddard, Thanya Iyer, Modibo Keita, Adam Kinner, Liam O’Neill, Lara Oundjian, Pompey, Stephen Quinlan, Rebecca Rehder, Catherine Fatima, Frédérique Roy, Mulu Tesfu & Jacob Wren.)


Advance tickets
Facebook Event

The Air Contains Honey Facebook Page


Poster by Maude Arès





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January 5, 2024

The Haunting Presence of a Network: On Eugene Lim / By Shinjini Dey

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The Haunting Presence of a Network: On Eugene Lim / By Shinjini Dey:

https://www.clereviewofbooks.com/writing/eugene-lim

I’ve been reading all of Eugene Lim’s books for a while now and it was really nice to read such an important essay on his work by Shinjini Dey. A short excerpt:

“No one is writing like Lim. If anything, Lim forces us to articulate how we ask questions of the world—inside and outside literature. How does anyone act in retaliation or defense? How does anyone appraise and evaluate anything at all? How does one live inside this impasse?”

(I highly recommend all of Eugene Lim's books but if you have to pick just one I would definitely start with Search History.)



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January 3, 2024

Pum Pum Poetry by PYNE featuring Gavsborg

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I only posted albums on my 2023 end of year list. But if I'd also had individual songs I would have definitely included Pum Pum Poetry by PYNE featuring Gavsborg:

https://pyne-sound.bandcamp.com/track/pum-pum-poetry

Such an amazing track.


January 2, 2024

a trilogy (of a sort)

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I guess I'm working on a trilogy (of a sort): https://radicalcut.blogspot.com/2020/10/three-trilogies.html



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December 23, 2023

Updated PME-ART website

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I’ve updated the PME-ART website just in time for the holidays: www.pme-art.ca


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December 7, 2023

Some favourite things from my 2023

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[So it seems like I now do this list more or less every year. I really do love lists. As with previous years, this is in no particular order and many of these things didn't come out during the previous year. As well, there should really be more performances and exhibitions on the list, but since the pandemic I'm still not seeing nearly as many of either and therefore this is where things currently stand.]



Music
MIKE – Beware of the Monkey
B. Cool-Aid – Leather Blvd
Jockstrap - I Love You Jennifer B
Noname – Sundial
Aldous Harding – Warm Chris
Kari Faux – Lowkey Superstar (Deluxe)
HOUSE Of ALL – HOUSE Of ALL
Dreamer Isioma – Princess Forever
nutrients – Different Bridges
Melenas – Ahora
H31R – HeadSpace
Just A Touch: Underground UK Soul Compiled by Sam Don
Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan


Books
Ordinary Notes – Christina Sharpe
Hospicing Modernity – Vanessa Machado De Oliveira
The Nutmeg’s Curse – Amitav Ghosh
Francisco – Alison Mills Newman
The Fifth Wound – Aurora Mattia
A Rock, A River, A Street – Steffani Jemison
The Women’s House of Detention – Hugh Ryan
Baby Book – Amy Ching-Yan Lam
Alien Daughters Walk Into the Sun – Jackie Wang
The Rage Letters – Valérie Bah (Translated by Kama La Mackerel)
Easily Slip into Another World – Henry Threadgill with Brent Hayes Edwards
For Sure – France Daigle (Translated by Robert Majzels)
Catastrophe Time! – Gary Zhexi Zhang (Editor)


Performances & Visual Art
BLACK MOON – FATHERMOTHER (Kezia Waters & Jordan Brown)
Nehanda – nora chipaumire
Reminiscencia – Malicho Vaca Valenzuela
Quantum Choir – Michèle Pearson Clarke
The Roman de Remort, or the inhumane, villainous fabliaux of the Ultimate Carnaval – Marion Lessard




Plus:
Some passages from Ordinary Notes by Christina Sharpe
Some lines from For Sure by France Daigle (Translated by Robert Majzels)
A short text I wrote about HOUSE OF ALL



November 22, 2023

La famille se crée en copulant and Le génie des autres / updated French translations from Le Quartanier

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I'm happy to announce that Le Quartanier is publishing updated French translations of my books La famille se crée en copulant and Le génie des autres:

https://lequartanier.com/auteur/95/jacob-wren

Read an excerpt of La famille se crée en copulant. Read an excerpt of Le génie des autres.

This is the first in a series of translations Le Quartanier will be doing of my books. Stay tuned.

Also, in English, you can read an excerpt of Families Are Formed Through Copulation here. And read an excerpt of Unrehearsed Beauty (the orginal version of Le génie des autres) here.

Finally, in French, people have stared to write about it:
Yvon Paré in Quebec literature
Ariane Gagnon on Insagram





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November 20, 2023

Kevin Coval Excerpt

[I heard this read last night at Paroles de résistance pour une Palestine libre. This is an excerpt.]



"i will tell my jewish kids
we have long story. more than what is seen
now. we are a people who wander and wonder
who have a bag prepared in the corner. i will
tell them israel is not a jewish state. it is
an empire state, a state against people
and a state against G-d. a G-d that is
borderless and nationless, a G-d that is
certainly without drone missiles and air
raids. in a jewish state no tank stands
between people seeking water or medicine.
israel is a farce, the guilt of the western world.
a christian admission of the holocaust.
a watchdog over oil. a stepchild power mad.
a baby country raging against everything
i know to be jewish. i will tell them, help dis-
mantle israel. Zion is yet to be, it is in the struggle
of becoming. this is the truth. it will venerate us
it will exodus, the truth will set us, free!"

- Kevin Coval, what will i tell my jewish kids (for the 5771)




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November 18, 2023

Audre Lorde Quote

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“I went through a period once when I felt like I was dying. I wasn’t writing any poetry, and I felt that if I couldn’t write I would split. I was recording in my journal, but no poems came. I know now that this period was a transition in my life.

The next year, I went back to my journal, and here were these incredible poems that I could almost lift out of it. Many of them are in The Black Unicorn. “Harriet” is one of them; “Sequelae” and “A Litany for Survival” are others. These poems came right out of the journal. But I didn’t see them as poems then.” 

– Audre Lorde

[As quoted in Black Women Writers at Work, edited by Claudia Tate]



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November 17, 2023

I Need Music by Anaïs Duplan

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Perhaps now would be a good time for everyone to read Anaïs Duplan's exceptional book I Need Music:

"When I first come into contact with an image, I say,
what is an image? I begin to believe paradoxically one failed picture
is the total picture. I can tell there’s an art to staying
either inside or outside the lines."
– Anaïs Duplan, I Need Music

Order it here.

As you might already know, Anaïs Duplan has been removed from the exhibition "We is Future" by the Museum Folkwang:

Anaïs Duplan's Instagram Post

Article in The Art Insider




“While I do, of course, feel a sense of accomplishment, growth, belonging, great
fortune, ‘n’ vitality, I also feel a deep ‘n’ abiding sadness.
I try to make space for this sadness here, by I feel there’s a sense to it.
I feel it’s talking to me ‘n’ I need to listen.
I’d rather not.”
– Anaïs Duplan, I Need Music


November 15, 2023

An Open Letter in Support of the Scotiabank Protestors at the Giller Prize Ceremony

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As writers and publishers, we express our support for the protestors who disrupted the Scotiabank Giller Prize gala at the Four Seasons Hotel in Toronto on November 13th, 2023. The protest called attention to Scotiabank's $500 million stake in Elbit Systems, an Israeli arms manufacturer; Scotiabank is Elbit’s largest foreign shareholder.

During the gala, protesters were booed by the audience and forcibly removed, and after the event ended, they were reportedly detained by police for three hours, and are now facing charges.

We stand with the protestors, and we urge that the charges against them be dropped. And we join our voices with hundreds of thousands of protestors across Canada who are decrying the unfolding genocide happening in Gaza and Palestine.

In the past five weeks, Israel has cut off water, electricity, and communication to Gaza. Over 11,000 Palestinians have been killed, the majority civilians and non-combatants. There are no more universities standing in Gaza. This week, Al-Shifa Hospital, the largest hospital in Gaza, was bombed until it could no longer be used. Among those who have died are more than 4000 children, many of them infants. This has been the deadliest attack for children in recent times. Many of our government officials and institutions swiftly condemned the October 7th deadly attack on 1200 Israeli civilians and the taking of 220 hostages. We ask that our institutions treat Palestinian civilians with the same concern and humanity.

We are writers and publishers who have been proud and grateful to receive invitations, nominations, grant funding, and prizes from literary institutions including the Scotiabank Giller Prize, the Writers’ Trust of Canada, the Toronto Book Awards, the Amazon Canada First Novel Award, the Griffin Poetry Prize, the Trillium Book Award, the Governor General’s Literary Awards, the Evergreen Award, the Writers’ Union of Canada, the Ontario Arts Council, and the Canada Council for the Arts, among others. As working artists, we are reliant on these institutions for our livelihood.

We ask all of our literary institutions to be loud where our governments and news outlets have been silent: to call for a ceasefire; to express condemnation for the collective punishment of Palestinians and the war crimes being enacted by the Israeli government; to exert pressure on the Canadian government to stop its military funding to, and diplomatic support for, the Israeli government; to call for a release of all hostages: Israeli hostages and the 5000 Palestinian civilians (including 170 children) who are illegally incarcerated in Israeli prisons; and to urge Israel to end the 75-year occupation of Palestine. We also ask these institutions to do their utmost to protect artists within their purview from censure for speaking out.

If you'd like to add your name to this statement, please do so here.


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November 9, 2023

Paroles de résistance pour une Palestine libre


 

Motivated by the urgent need to express our solidarity with the people of Palestine, the Decolonial Love Circle is inviting artists and activists whose communities are united in their struggle for liberation, to lend their voice to the words that fuel resistance.

Animé·e·s par l’urgence d’exprimer nos solidarités au peuple palestinien, Le cercle d’amour décolonial invite des artistes et activistes membres de communautés unies dans leurs luttes pour la libération à se faire porte-voix des mots qui nourrissent la resistance.

Avec-With Hoda Adra, Bengi Akbulut, Yassin Alsalman, Marilou Craft, Karla Etienne, Oula Hajjar, Brintha Koneshachandra, Ehab Lotayef, Qiz7a, Sanna Mansouri, Leila Marshy, Charlie Prince, Lucine Serhan, Nour Symon, les Tisseuses, Amel Zaazaa, Marya Zarif, Jad Orphée Chami, Mohamed Masmoudi, Palestinian Youth Movement (PYM)- حركة الشباب الفلسطيني (d'autres noms s'ajouteront)

La Sotterenea
November 19
6 pm, doors at 5h30

More information here: https://www.facebook.com/events/334250685963000/



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October 31, 2023

Sudanese artist Amna Elhassan and Sudanese author's Stella Gitano and Abdelaziz Baraka Sakin



Just discovered the work of Sudanese artist Amna Elhassan. This is her website: https://www.amnaelhassan.com

I don't know nearly enough about what's currently happening in Sudan to write anything about it. But you can read the Sudanese author's Stella Gitano and Abdelaziz Baraka Sakin speaking about it here: https://qantara.de/en/article/sudanese-artists-speak-out-its-not-our-war

That's all I can think to write for now.

EDIT: I felt there should be at least something else. Here's an article: In Sudan, a genocide unfolds — again — and the world does little



"Don’t forget that the Palestinian, Sudanese and Congolese genocides are all connected and the common threads are the economic and military interests of the West."
https://twitter.com/THISisLULE/status/1718441909130068366



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October 30, 2023

Rashid Khalidi Quote

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“The erasure of the Palestinians on display this week as President Donald Trump and Israeli Prime Minister Benjamin Netanyahu unveiled a one-sided “vision for peace” might have been an unusually blatant act of disregard, but it was in no way new. The omission is the essence of the conflict. I was reminded of this back in the early 1990s, when I lived in Jerusalem for several months at a time, doing research in the private libraries of some of the city’s oldest families, including my own. I spent over a year going through dusty worm-eaten books, documents, and letters belonging to generations of Khalidis, among them my great-great-great uncle, Yusuf Diya al-Din Pasha al-Khalidi.

Through his papers, I discovered a worldly man with a broad education acquired in Jerusalem, Malta, Istanbul, and Vienna. He was the heir to a long line of Jerusalemite Islamic scholars and legal functionaries, but at a young age, Yusuf Diya sought a different path for himself. After absorbing the fundamentals of a traditional Islamic education, he left Palestine at the age of 18 — without his father’s approval, we are told — to spend two years at a British Church Mission Society school in Malta. From there, he went to study at the Imperial Medical School in Istanbul, after which he attended the city’s Robert College, recently founded by American Protestant missionaries. For five years during the 1860s, Yusuf Diya attended some of the first institutions in the Middle East that provided a modern, Western-style education, learning English, French, German, and much else.

With this broad training, Yusuf Diya filled various roles as an Ottoman government official: translator in the Foreign Ministry, consult in the Russian Black Sea port of Poti, governor of districts from Kurdistan to Syria, and mayor of Jerusalem for nearly a decade. He was also elected as the deputy from Jerusalem to the short-lived Ottoman parliament established in 1876, and he did stints teaching at the Royal Imperial University in Vienna.

As a result of his wide reading, as well as his time in Vienna and other European countries, and from his encounters with Christian missionaries, Yusuf Diya was fully conscious of the pervasiveness and virulence of European anti-Semitism. He had also gained impressive knowledge of the intellectual origins of Zionism, and he was undoubtedly familiar with “Der Judenstaat,” or “The Jewish State,” by the Viennese journalist Theodor Herzl, published in 1896, and was aware of the first two Zionist congresses in Basel, Switzerland, in 1897 and 1898. Moreover, as mayor of Jerusalem, he had witnessed the friction with the local population prompted by the first years of proto-Zionist activity, starting with the arrival of the first European Jewish settlers in the late 1870s and early 1880s.

Yusuf Diya would have been more aware than most of his compatriots in Palestine of the ambition of the nascent Zionist movement, as well as its strength, resources, and appeal. He knew perfectly well that there was no way to reconcile Zionism’s claims on Palestine and its explicit aim of Jewish statehood and sovereignty there with the rights and well-being of Palestine’s Indigenous inhabitants. On March 1, 1899, Yusuf Diya sent a prescient seven-page letter to the French chief rabbi, Zadoc Kahn, with the intention that it be passed on to the founder of modern Zionism.

The letter began with an expression of Yusuf Diya’s admiration for Herzl, whom he esteemed “as a man, as a writer of talent, and as a true Jewish patriot,” and of his respect for Judaism and for Jews, whom he said were “our cousins.” He understood the motivations for Zionism, just as he deplored the persecution to which Jews were subject in Europe. In light of this, he wrote, Zionism in principle was “natural, beautiful, and just.” He added, “who could contest the rights of the Jews in Palestine? My God, historically it is your country!”

But the former mayor of Jerusalem went on to warn of the dangers he foresaw as a consequence of the implementation of the Zionist project for a sovereign Jewish state in Palestine. Whatever the merits of Zionism, Yusuf Diya wrote, the “brutal force of circumstances had to be taken into account.” Palestine “is inhabited by others.” It had an Indigenous population that would never accept being superseded, making it “pure folly” for Zionism to plan to take Palestine over. “Nothing could be more just and equitable” than for “the unhappy Jewish nation” to find a refuge elsewhere, but, he concluded, “in the name of God, let Palestine be left alone.”

Herzl replied—and quickly, in a letter on March 19. His letter was probably the first response by a leader of the Zionist movement to a cogent Palestinian objection to its embryonic plans for Palestine. Herzl simply ignored the letter’s basic thesis, that Palestine was already inhabited by a population that would not agree to be supplanted. Although Herzl had visited Palestine once, in an 1898 visit timed to coincide with that of German Kaiser Wilhelm II, he (like most early European Zionists) had not much knowledge of or contact with its native inhabitants.

Glossing over the fact that Zionism was ultimately meant to lead to Jewish control of Palestine, Herzl deployed a justification that has been a touchstone for colonialists and that would become a staple argument of the Zionist movement: Jewish immigration would benefit Palestine’s Indigenous inhabitants. “It is their well-being, their individual wealth, which we will increase by bringing in our own,” Herzl wrote, adding that “no one can doubt that the well-being of the entire country would be the happy result.”

Herzl’s letter addressed a consideration that Yusuf Diya had not even raised: “You see another difficulty, Excellency, in the existence of the non-Jewish population in Palestine. But who would think of sending them away?”

But Herzl had underestimated his correspondent. From Yusuf Diya’s letter, it is clear that he understood perfectly well that at issue was not the immigration of (as Herzl put it) “a number of Jews” into Palestine, but rather the transformation of the entire land into a Jewish state. Instead, Herzl offered the preposterous inducement that the colonization, and ultimately the usurpation, of their land by strangers would benefit the people of that country. Herzl’s reply to Yusuf Diya appears to have been based on the assumption that the Arabs could ultimately be bribed or fooled into ignoring what the Zionist movement actually intended for Palestine.

This condescending attitude toward the intelligence, not to speak of the rights, of the Arab population of Palestine was to be serially repeated by Zionist, British, European, and American leaders in the decades that followed, down to the present day. As for the Jewish state that was ultimately created by the movement that Herzl founded, as Yusuf Diya foresaw, there was to be room for only one people, the Jewish people. As for the others, “sending them away” was indeed what happened, despite Herzl’s disingenuous remark.

Herzl’s letter referred to Palestinian Arabs, then roughly 95% of Palestine’s inhabitants, merely as its “non-Jewish population.” The Jewish state, Herzl wrote in “Der Judenstaat,” would “form a part of a wall of defense for Europe in Asia, an outpost of civilization against barbarism.” Herzl’s imperious disregard of the Palestinians has been replicated over the decades in much discourse in the United States, Europe, and Israel; indeed, it was clearly audible from the White House as recently as this past week.

- Rashid Khalidi, The Hundred Years' War on Palestine: A History of Settler Colonialism and Resistance



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October 27, 2023

One day...


"One day, when it's safe, when there's no personal downside to calling a thing what it is, when it's too late to hold anyone accountable, everyone will have always been against this."




Free Palestine spotted in the NYC subway 


* * * 


“The best comparator for what Israel is doing now in Gaza is not anything previous in Palestine. It’s Israel’s 1982 invasion of Lebanon.

There, as here, Israel engaged in a bloody long-term attack with the purported goal of ending Palestinian resistance from Lebanon once and for all and establishing a Lebanese government that would give Israel “forty years of peace.”

The result? Israel lost any global sympathy quickly, especially after the Sabra and Shatila act of genocide. Israel’s puppet government fell almost immediately. Israel occupied a portion of Southern Lebanon for 20 years, at the end of which it withdrew with nothing gained. In the wake of its occupation came Hizballah, one of Israel’s most potent consistent enemies. On the way to gaining nothing, Israel killed tens of thousands, mostly civilians.”




* * * 

"When I’m asked why I’m a self-hating Jew, I like to say I’m someone who values the Jewish principles of tzedek (the pursuit of justice), tikkun olam (repairing the world), & derekh eretz (treating all with dignity/respect), NOT an alliance with a genocidal global superpower."



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October 1, 2023

PME-ART in Lisbon



I'm extremely excited to be travelling to Lisbon to perform A User's Guide to Authenticity Is a Feeling at Teatro do Bairro Alto on October 13 & 14:

https://teatrodobairroalto.pt/en/event/a-users-guide-to-authencity-is-a-feeling

It will be my first time on tour since February 2020. (And I used to travel constantly.) Very curious to see what it's like to head back out on the road.

(Also, Lisbon is one of my all-time favourite cities. Also, I just realized - due mostly to the pandemic - that the last time I performed in Europe was five years ago.)

Facebook Event.

You can still order the book in either English or French:
Authenticity is a Feeling: My Life in PME-ART
Un sentiment d'authenticité : ma vie avec PME-ART

There's also this video of a short reading plus my answers two short questions about Authenticity is a Feeling to celebrate the French translation.

And of course, if you're interested, you can find out more about PME-ART here.



September 26, 2023

Steffani Jemison Quote

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“I used to think that time is just one thing, the way a ruler is always the same length, twelve inches or twenty-four inches or even a yard.

Then I started to run and learned that time is only like distance if we measure distance with taffy or rubber bands or chewing gum or pleats, anything that can expand wide like an accordion or shrink small enough to swallow.

I found that the twenty or thirty minutes of a run could feel like the longest twenty minutes of your life. The final block, the final leg, the final lap, the final half mile – they could feel like the longest hundred feet in the world.

Even when I ran every day, when I felt I could never imagine being more accustomed to something than I was accustomed to running, even then, I sometimes felt I would never reach the end.

There are things you do because they’re easy and there are other things you do.”

– Steffani Jemison, A Rock, A River, A Street


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September 21, 2023

I try to imagine what my life might have been like if I had never become an artist...

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I try to imagine what my life might have been like if I had never become an artist. To imagine my life being opposite. And the first thing that comes to mind is myself as an eccentric. That without the release valve of making art, my artistic impulses instead become behaviors. That I would have become a somewhat stranger person than I currently am.



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August 27, 2023

Francisco Goldman Quote

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“Proust wrote in his novel that a man, during the second half of his life, might become the reverse of who he was in the first. When I first read that a few years ago I liked the line so much I wrote it down and put it into my wallet. Then I found a similar one in Simenon’s The Prison: “Alain Poitaud, at the age of thirty-two, took only a few hours, perhaps only a few minutes, to stop being the man he had been up to that time and to become another.” I decided to fill a notebook with quotes conveying that sense of the possibility of a seemingly magical personal metamorphosis, but then I didn’t come across many more. But I did find this one by Nathaniel Hawthorne that’s like the others but with an intriguing twist: “In Wakefield, the magic of a single night has wrought a similar transformation, because, in that brief period, a great moral change has been affected. But this is a secret from himself.” Something, even overnight, has changed you for the better, but you’re not even aware of it. But can’t it be something that has been building for years and that finally gathers enough weight, even from one day to the next, to tip over from bad into better or even into good? How will you know? Because someone will love you who wouldn’t have yesterday.”

– Francisco Goldman, Monkey Boy



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August 16, 2023

Henry Louis Gates Jr. Quote

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“On the populist left, the then favored model of the oppositional spokesman was what Gramsci called the “organic intellectual”: someone who participated in and was part of the community he would uplift. And yet James Baldwin’s basic conception of himself was formed by the familiar, and still well-entrenched, idea of the alienated artist or intellectual, whose advanced sensibility entailed his estrangement from the very people he would represent. Baldwin could dramatize the tension between these two models – he would do so in his fiction – be he was never to resolve it.”
– Henry Louis Gates Jr., The Welcome Table



[From the anthology: Lure and Loathing: Twenty black intellectuals address W.E.B. Du Bois’s dilemma of the double-consciousness of African Americans. Edited by Gerald Early.]



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June 8, 2023

Michael Wolff Quote

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I could call up Arianna and confirm the best story I know about these dinner parties. But I don’t want it not to be true. I tell my children this story as an example of savvy and pluck. (I have heard it from three different people.)

Arianna set about having dinner parties, inviting the most prestigious New Yorkers who would come and, at an appointed hour, she would deliver an impromptu toast, fifteen minutes or more of sweeping, seamless, knowing, witty observations, the likes of which no awkward table in New York had ever heard before. Grown men, those attracted to ambitious women anyway, swooned. When, ultimately, it got out that these toasts were written and rehearsed, that only added to the allure. Indeed, this is what I tell my children: it’s not the effortlessness but the effort that goes into making it effortless. In praise of artifice, if you will.

– Michael Wolff, Too Famous



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June 1, 2023

Some lines from For Sure by France Daigle (Translated by Robert Majzels)

Some lines from For Sure by France Daigle (Translated by Robert Majzels):


*


The rituals of obsessive neurosis are such that Freud compares this pathology to a “private religion.”


*


Some books are written to be read, others only to have been written.


*


Along the lines of thinking the glass is half full or half empty, some people who believe they’re in danger of dying are in fact in danger of living.


*


Proverb for artists: when art fails, chance succeeds.


*


Rumour is certainly related to fantasy, but it can also be related to tactics.


*


To be the object of ridicule, but to put on a good show.


*

May 23, 2023

A project in continuum with The Fall


I have so much to say about this record that I don’t even know where to begin.

Made by members of The Fall who, over the years, Mark E. Smith fired or who quite due to his erratic and abusive behavior. Made by many of the musical architects of the classic Fall sound. And now that Mark E. Smith is gone they come together and make a record in continuum with the work of The Fall that’s almost as good as any Fall record and, for this reason, in some ways all that much better.

Revenge is a dish best served cold. Living well is the best revenge.

How to take past resentments and turn them into gold. How to have a final, unexpected fourth act that turns everything on its head.

For some reason listening to this record gives me some small hope for my artistic future. (Even though I’m probably Mark E. Smith in this story, so the hope comes after I die.)

https://houseofall.bandcamp.com/album/house-of-all



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May 13, 2023

Three videos from The Air Contains Honey

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“We shall define sexuality as that which can’t be satisfied and therefore as that which transforms the person.”
– Kathy Acker, Great Expectations

The Air Contains Honey - Sexuality 



“I adore everything I don’t understand.”
– Angela Lopes, Bridge Retakes

The Air Contains Honey - Everything



“In my best moments I think ‘life has passed me by,’ and I’m content.”
– Agnes Martin

The Air Contains Honey - Best Moments 




The Air Contains Honey is an “orchestra” that mixes professional and amateur musicians in search of a warmth and community spirit they may or may not find. All of their songs follow the same basic structure: a quote sung four times, an instrumental break, and then the same quote sung another four times. For the audience, as well as for the performers, this is a chance to hear an orchestra in the process of discovering its sound as it goes.

In these three videos The Air Contains Honey is: Patrick Conan, Thanya Iyer, Adam Kinner, Liam O'Neill, Lara Oundjian, Pompey, Stephen Quinlan, Rebecca Rehder, Catherine Fatima, Frédérique Roy, Mulu Tesfu, Jacob Wren.

Image and editing by Nina Vroemen

For more information, as it becomes available, you can find The Air Contains Honey Facebook page here.



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May 11, 2023

Diachroneity Books: "What we want: Oddness. Stream of consciousness. Weird, but beautiful. Genre, but literary. Just a liiiiittle left of centre."

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Diachroneity Books seeks novels, short story collections, novels-in-flash, encyclopedias (lol), and fresh translations of the above. Currently, we’re working with prose only (no poetry (◕︵◕)).

Right now, we’re focusing on digital release.

What we want: Oddness. Stream of consciousness. Weird, but beautiful. Genre, but literary. Just a liiiiittle left of centre. Biting humour, biting commentary, and biting humour-as-commentary. Eighteen layers of sorta confusing metaphor. Make us (and you) feel uncomfortable, unsettled, unsure. Or astound us. Ideally both.

If you think other places would publish your manuscript and sell mad stacks, it’s probably not for Diachro.

What we don’t want: The mainstream. -isms or -phobias. Easy reading. Cool kids.

If you’ve been knocked back for being “too much,” hi.

Also, we aim to be, like, nice and thoughtful and understanding human beings. So if we’re thinking about doing this thing together (i.e., literary birthing), we kindly request that you be nice and thoughtful and understanding too.

Teamwork makes the dreamwork, y’know?



More information here: https://diachroneitybooks.com/SUBMIT



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May 6, 2023

Some passages from Ordinary Notes by Christina Sharpe

Some passages from Ordinary Notes by Christina Sharpe:


*


I want to tell how sorrow makes a shape that is familiar. And how that familiar thing can be difficult both to name and to narrate.


*


There is a certain mode of reading connected to a tradition of colonial practices in which every book by any Black writer appears as sociology. Then all of that book’s explorations, its meanings, and its ambitions lodge in a place called identity. This often-white reading either does this directly, as in, in this book about identity… or indirectly, by way of excepting a particular Black writer from this dreaded trap by writing that they “bravely” eschew identity. The reviewer might then draw a comparison between that Black writer and Sebald and imagine this a compliment of the highest order. Or the reviewer might make clear that the Black writer in question is not-one-of-those-Black-writers who center their work in the abundance of Black life.

These readers and reviewers are stuck on something they call identity and not something called life or genre or craft or intertextuality or invention or literary tradition.

These readers continually misread the note. They decant all complexity, all invention into that thing they name identity that they imagine is both not complex and not relevant to them.


*


Abolition is one manifestation and key call of this time of Black liberation; it extends our understanding of the ways that the states we live in have consolidated the carceral and it imagines and enacts other ways of living.

Abolition is one manifestation and a key call of this epoch of Black liberation. It refuses the logics of property. It refuses the ways that the states we live in and the mechanisms of those states in this moment have consolidated the carceral. It joins and elaborates and imagines other ways of being together and in relation, other ways of enacting care for human and nonhuman life.

Ruth Wilson Gilmore and Mariame Kaba remind us that abolition is both tearing things down and remaking: more than anything else, Gilmore says, it is about presence, not absence.

Abolition is remaking our vocabularies. Abolition is another word for love.


*


Care is complicated, gendered, misused. It is often mobilized to enact violence, not assuage it, yet I cannot surrender it.

I want acts and accounts of care as shared and distributed risk, as mass refusals of the unbearable life, as total rejections of the dead future.


*

April 17, 2023

Six sentences concerning art and jealousy

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Jealousy of other artists is perhaps the most natural part of being an artist.


Artists should have honest discussions about ambition (and about money.)


Being an artist is often about the feeling that other artists are getting something that you’re not.


The difference between how I feel jealous of an artist whose work is better than mine and how I feel jealous of an artist whose work is more successful than mine.


The purpose of an artistic star system is to undermine solidarity.


There are no individual solutions to collective problems.



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April 2, 2023

My apartment is just piles of books

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The video recording of My apartment is just piles of books was online only until April 30th, 2023 and therefore is no longer available.

"In this online performance, Jacob Wren reflects on the fact that he used to travel constantly for art and yet during the pandemic spent more time in his apartment than ever before. And the travel has not yet resumed. Through a short tour of his bookshelf, questions are raised about what it means to make art when you find yourself no longer in constant motion."

However, you can still watch the conversation between Anyse Ducharme and Jacob Wren as part of the Virtual Encounters series: https://vimeo.com/815412881

Presented by LOMAA.



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March 29, 2023

99,430 words

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When you finish a first draft of a book, do a word count, and learn that the manuscript is 99,430 words long.



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March 17, 2023

How many times have I gone online and posted a paragraph entitled “possible opening for a new novel?”

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How many times have I gone online and posted a paragraph entitled “possible opening for a new novel?” That feeling of starting something new, starting over. The feeling or idea that it’s possible to start from scratch, a feeling most easily obtained in the land of fiction. The fiction that it’s possible to start again. Everything comes from somewhere, nothing is pure invention. The beginning of a new work is the beginning of a new day. And yesterday was also once a new day. Wondering if I should leave but no idea where to go.



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March 15, 2023

Can an art of collective struggle really be made by an individual artist?

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Can an art of collective struggle really be made by an individual artist? My secret, if I have one, is that I honestly hate being alive. What is your secret? What is the secret of some larger collectivity? A secret shared by everyone, a secret that everyone can work toward together? But of course not exactly everyone, just those within a certain specific circle of solidarity. What secret might be large enough to hold this solidarity together? My secret, if I have one, is that I can endlessly write about how miserable I am, but most often choose not to. Some other people are as miserable but, for the most part, most other people don’t seem to be. Illusions.



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February 20, 2023

There is a genre of scene I believe I had read several times in a certain kind of nonfiction book...

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There is a genre of scene I believe I have read several times in a certain kind of nonfiction book. In this type of scene, the author of the book shows an earlier draft of said book – the very book you are holding in your hands – to a character in the book, or more precisely to a person in the author’s life upon whom one of the characters is based. And this person reacts extremely badly to the manner in which they’ve been portrayed. Which creates a sort of ethical dilemma on the part of the author. Do they remove this character from their book? Or rewrite the character in order to make it more to the liking of the person on whom it is based? Or fictionalize the character even further so as to make it unrecognizable? I have seen different author’s deal with this dilemma in different ways, and it always strikes me as somehow getting to the very heart of the ethical problem of the relationship between fiction and reality.



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February 17, 2023

And things started to happen, but none of them were the things we said were going to happen...

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And things started to happen, but none of them were the things we said were going to happen, and none of them were the things anyone else expected either. But at least something had begun. Or so we thought. Were we willing to classify whatever it was that seemed to be happening as “something”? We had no choice: we couldn’t go back and the only way forward was to go with what was happening. What was starting. What we thought. It had something to do with the way one thing followed the next. If we didn’t intervene. All we had done is open the door. It was exhausting.



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February 13, 2023

Virtual Coffee Chat with Jacob Wren and Julia Lee Barclay-Morton

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On Wednesday, Feb. 15 at 5pm EST I will be having a Virtual Coffee Chat with Julia Lee Barclay-Morton about her book The Mortality Shot and my book Polyamorous Love Song. Discussing what we share as authors: the crossover between words for performance and for the page and not falling neatly into categories.

The event is online and free but you have to register for it here.

If you haven't already you should definitely check out The Mortality Shot. This is what I had to say about it:

"These stories and essays (plus a stage text) push up against heartfelt questions of life and death in ways that are complex, counter-intuitive, humorous and striking. Writing against the grain, in varying styles and intensities, The Morality Shot goes places that so much current literature wouldn’t dare, demonstrating that real writing is always a risk and a gamble, and that only through taking such risks can we get at the things which truly matter."

And, if you missed it, the Virtual Author Coffee Chat is now online and you can watch it here:





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February 10, 2023

My life is entangled in theatre but I now know almost no one else who works in theatre...

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My life is entangled in theatre but I now know almost no one else who works in theatre. It is like a place I have almost completely left as that place continues to almost completely rule my inner life. Be careful what you decide to be against. I find myself feeling like I’m stuck in a tunnel of things I don’t want to do. But what exactly is the tunnel? An inability to usefully think what other sorts of things I could be doing. Doing things in reaction to what I’ve previously done, rather than thinking toward what might interest me in the future. This has something to do with the idea of a diary.



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February 8, 2023

They warned me the soup was extremely hot and I might burn myself...

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They warned me the soup was extremely hot and I might burn myself. I didn’t heed the warning and did indeed burn myself. I couldn’t say that I hadn’t been warned. I retaliated by writing the experience down, an account you are currently reading. A rather boring and predictable account. It has happened before and will happen again.



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